Romantic love is a primary concern in African pop music. It’s unsurprising, considering it’s one of the most confounding, maddening, and fulfilling experiences. In a broad context, love songs are a reflection of how society approaches love, showing tacit biases of what is generally championed where attraction is concerned. On a more intimate level, romance-themed songs capture interiority, revealing what hurts or heals, how people love and want to be loved, and if it’s even all worth it.
Although there’s the regular chatter about how Valentine’s Day isn’t solely restricted to romantic love, that’s often the case. In celebration of February 14th, and as a hat tip to the great songs African artists have made about love, OkayAfrica has curated 14 of the best African love songs since the turn of the millennium.
Lagbaja & Ego – “Never Far Away”
At the risk of hyperbole, Lagbaja’s “Never Far Away” is one of the greatest feats of music composition in Nigerian music history. As a merger of Yoruba folk elements and a classical orchestral score, everything is pristine and is in service of an iconic vocal performance by singer Ego. “Never Far Away” is one of the best make-up songs ever, partly because even in the turmoil of heartache, it all sounds so angelic, from the violin screeches and gently complex drum rhythms to Ego’s immaculate singing. The narrative of the song shows that love is not always linear; getting together is great, and sometimes getting back together is even better.
2Face Idibia – “True Love”
Including “African Queen” would’ve been the easiest, and possibly the most appropriate, thing to do here, but that would be a minor injustice against the best love song in 2Baba’s catalog. On “True Love,” the pop superstar then known as 2Face Idibia wrestles with the personal carnage he brought on himself by ruining a great relationship. It’s the kind of stark vulnerability that was uncommon when Nigerian male singers approached romantic matters at the time, and there’s still a dearth of it these days. Also, for what it’s worth, there are no allegations that this gem was stolen.
Teddy Afro – “Lela Alawkem”
At the beginning of his hugely successful career, Teddy Afro was a heartthrob. “Lela Alawkem,” a gem from his debut album, Abugida, is an enduring declaration of unbridled devotion. Sung entirely in Amharic, the song’s sentiments are explicit in the Ethiopian singer’s melodic phrasing, all excitement over a jaunty beat that marries dance and folk.
Black Coffee – “Superman”
The impact of Black Coffee’s “Superman” eclipsed its initial popularity when it was sampled by global rap superstar Drake, eight years after its original release. That’s what often happens with classics: they find new life because of their timelessness. Helmed in collaboration with singer Bucie, it’s a true signifier of South African house music as a merger of soul, jazz, and dance. Bucie sings of a love that heals past traumas, floating over tribal drums, synths, and an assortment of jazzy piano runs. Nearing two decades since it dropped, “Superman” is still a warm entreaty for wholesome love.
Lira – “Wa Mpaleha”
Lira’s “Wa Mpaleha” is the kind of soothing love song that belies its perfect execution. The music is a fusion of neo soul, afro-Cuban percussion, and jazz, smoothened out in a way that doesn’t obscure the unique twang of these elements. South Africa’s adult contemporary queen inhabits the production with her trademark effortlessness, as she appeals to a potential partner to draw closer. Considering how fresh it still sounds, it’s safe to say “Wa Mpaleha” will always be a classic that soothes ears and warms hearts.
M.I. & Waje – “One Naira”
There’s a strong argument to be made that M.I Abaga might be the most proficient African rapper at making love songs. Arguably the greatest in his rolodex of great romance-themed songs, “One Naira” is the ultimate ride-or-die anthem. Featuring an iconic hook by the siren-voiced Waje, it is packed with some of the most sappy punchlines M.I has ever rapped and, honestly, it feels fitting. Even the insistent end-rhymes on the second verse, where he rhymes Tarkwa with Obama, would be annoying in a different setting. In a way, that’s what love does: make you say things that would be ordinarily uncool.
Babylone – “Zina”
Fewer African songs have been able to articulate heartache with terrifying beauty as Babylone’s smash hit, “Zina.” The music is delicate, guitar riffs in harmony and a percussion keeping time, creating the perfect ambience for the Algerian band’s lead singer, Amine Babylone, to tug with the raw nerves of the aftermath of being jilted. The sadness is palpable, but there’s some yearning to cling to, pure belief that history will restore the previous joy of love and all will be right again in the world. They say it’s the hope that kills, but on “Zina,” it’s the hope that provides a reason to even be alive.
Sha Sha – “Tender Love” feat. Kabza De Small & Maphorisa
Even around the time of its release, it was apparent that Sha Sha’s “Tender Love” was going to become a classic hit. It came out around the time amapiano was asserting its place as the foremost style of dance music out of South Africa, and it was one of a few, earlier mainstream ‘piano hits to center an ultra-melodic performance with a romantic theme. Sure, the song might transport those already familiar to a time where coronavirus paused the world, but it continues to stand out thanks to Sha Sha’s compelling showcase over ricocheting log drums.
Gyakie & Omah Lay – “Forever (Remix)”
Gyakie was one of several artists to break out during the Covid-19 pandemic, and the Ghanaian singer did it in box office style. “Forever,” the single that ushered her into a higher level of notoriety, eclipsed the success of her first hit song, “Sor Mi Mu.” Both songs showed Gyakie’s adeptness at weaving blue-eyed emotions about being head over heels for someone. “My mind dey for you, my heart beats for you” are the sort of lyric lines that are plain but ultra-effective, while Nigerian singer Omah Lay adds his trademark edge in a way that underlines the importance of reciprocity where there are intense feelings.
Karun – “Here With Me”
When Karun sings of love, there’s an innate understanding that we make our own fairytales. Sometimes that means working through cracks and coming out to a sunlit joyride. On “Here With Me,” the Kenyan singer reaches out for a happiness that she knows, not just because it’s familiar, but with a clear belief that it never left and can be reinforced going forward. Over Higo’s sublime bounce, Karun advocates for the joys of staying in the moment, her cherubic voice gleaming with conviction that reciprocity is enough for whatever comes next.
Joshua Baraka – “NANA”
Even at the top of the 2020s, when his music drew a niche following, it felt predestined that Joshua Baraka would be a star with feasible continent-wide visibility. The Ugandan singer made good on that potential with his breakout single, “NANA,” a slinky jam that put some gloss on Uganda’s long-time affinity for dancehall. In the modern romance context, the song portrays being utterly enamored with someone so much that anecdotes will have to do for the public, lest revelation ruin the purity of things. Baraka’s boyish croon makes this understanding sound dreamy.
Asa – “Odo”
All Asa needs is a guitar. The Nigerian singer and songwriter has been settling into a looser rhythm in recent years, evidenced by the pop sheen of her fifth LP, V. On “Odo,” her only release since the album, she gets even more unvarnished, singing her most stirring love song yet. It’s all about love for love’s sake, no more, no less. Nothing is asked, and everything is given; compliments are constantly exchanged in awe of each other, and the commitment is eternal and unbridled. The guitar spouts soul, and Asa sings with utter disregard for external concerns.
Saint Levant – “Kalamatina”
Released on Valentine’s Day 2025, Saint Levant’s Love Letters EP was very on the nose, and it worked because the music is awesome. The runaway hit off the project, “Kalamatina,” is a Leviathan banger with recognizable soulfulness and the catchiness of an elite pop-rap song. Alternating between Arabic and English, the Palestinian rapper, with Algerian roots, and his Egyptian collaborator, Marwan Moussa, are explicit in the adulations of their love interest and upfront about being weak in the knees. “Why, you killing me softly,” they chant on multiple occasions, confessing the kind of obsession most people would want to be on the receiving end of.
lordkez – “Aweh”
On “Aweh,” lordkez chooses the guy. “The first time I saw, I know you’re my guy” are the song’s opening lines, an assertion that being drawn to someone at first sight isn’t solely exclusive to men. She’s still a girlie girl about her attraction, butterflies flutter around her stomach, and shyness bubbles up, but it doesn’t hamper her intentions to care and be cared for. “Aweh” is an incredibly cute song, giddy to the point of high school love, sentimentally laid out without being cloying, and the music is just the right amount of bubbly to complement lordkez’s butter smooth voice.
